Papers by Jo Briggs
Journal of the Walters Art Museum, 2023
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"Léon Bonvin (1834-1866): Drawn to the Everyday," Catalogue Raisonné, Maud Guichané and Gabriel P. Weisberg, Fondation Custodia, Collection Frits Lugt, Paris, 2022
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Journal of Pre-Raphaelite Studies, 2022
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Majolica Mania: Transatlantic Pottery in England and the United States, 1850-1915, 3 vols., 2020
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Victorian Artists' Autograph Replicas: Auras, Aesthetics, Patronage and the Art Market, 2020
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“Ludwig Knaus, Homecoming,” Herausgegeben von Peter Forester und Rebecca Krämer für das Museum Wiesbaden Deutscher Kunstverlag, 2020, 2020
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"Volkstümliche Moderne: Malerei und Populäre Kultur der Gründerzeit," Joseph Imorde, Peter Scholz and Andreas Zeising, eds, 2020
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Master Drawings, 2017
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Oxford Art Journal, 2015
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"The Flaneur Abroad: Historical and International Perspectives," edited by Richard Wrigley, 2014
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Victorian Studies, 2013
At just after six in the evening on 16 June 1851, a balloon carrying two passengers narrowly avoi... more At just after six in the evening on 16 June 1851, a balloon carrying two passengers narrowly avoided crashing into the transept of the Crystal Palace. This near-disastrous balloon ascent was the result of just one of the popular entertainments that sprang up to capitalize on the crowds of visitors to the Great Exhibition of the Works of Industry of All Nations in London in 1851. Despite the fact that on this occasion popular entertainment and didactic recreation almost literally collided, histories of the Exhibition have kept the two separate. It is notable that today the Great Exhibition is most often studied through sources such as Dickinson's Comprehensive Pictures of the Great Exhibition of 1851 (1852), the Art Journal Illustrated Catalogue (1851), or the Illustrated London News, all aimed at middle-class audiences. However, cheap broadside ballads also commented on the Exhibition and offer alternative perspectives on the event. This paper focuses on these neglected sources and reads them within a broader network of literary and visual sources.
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The Journal of the Walters Art Museum, 2012
At the time Walters 38.419 entered the museum in 1963 with a significant gift of portrait miniatu... more At the time Walters 38.419 entered the museum in 1963 with a significant gift of portrait miniatures the flame-haired subject was identified as Elizabeth Siddall—a significant Pre-Raphaelite artist, poet and model who married Dante Gabriel Rossetti. This identification is attested by an engraved inscription on the back of the portrait's magnificent jeweled frame, which was added on the instruction of previous owner, John Pierpont Morgan in about 1906. This paper uncovers the involvement of the art critic and miniature expert George Charles Williamson in both the design of the frame, the identification of the sitter as Siddall, and the attribution of the over-painting to Rossetti.
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Nineteenth-Century Art World Wide, 2012
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Art History, 2012
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Victorian Studies, 2011
Drawing on cultural history and opposing the idea that British visual culture in 1848 has nothing... more Drawing on cultural history and opposing the idea that British visual culture in 1848 has nothing interesting to say about class, politics, and revolution, this article examines a depiction of the London dance-hall Laurent's Casino by Guillaume-Sulpice Chevalier, better known as Paul Gavarni, made to accompany an essay by Albert Smith for the collaborative work Gavarni in London (1849). The image appeared against the backdrop of revolutions abroad, and just weeks after rioting in Trafalgar Square. Reconstructing the location of the casino, the history of the venue, the entertainments enjoyed there, and descriptions of its patrons——the gent and his female counterpart——reveals the dynamic performance of class enacted there, and contemporary reactions to that performance.
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Visual Culture in Britain, 2011
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"Vernon Lee: Decadence, Ethics, Aesthetics" edited by Catherine Maxwell and Patricia Pulham
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Book Reviews by Jo Briggs
caa.reviews, 2022
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Art Newspaper, April, 311, 2019
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Nineteenth-Century Art Worldwide, 2018
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Papers by Jo Briggs
Book Reviews by Jo Briggs